This paper examines how Qur’anic stories are reflected upon, reshaped, and deployed in Sandow Birk’s "American Qur’an". Specifically, I will examine the presentation of the Annunciation to Maryam, in the stories of Surat Al ‘Imran and Surat Maryam. In his introduction to the work, Birk explains that since Muslims assert that the Qur’an is for all times and for all places, he wants to look at it as a 21st Century American artist. I am interested in what Birk brings to or takes away from the Qur’anic text in his illustrations. I will also analyze the writing of the text, which Birk describes as an American graffiti-style. I will compare the illustrations and writing to the Qur’anic text. For example, in the illustrations on the pages when Maryam is told that she will have child, and she is told of his characteristics, we see a woman getting an ultrasound. By drawing our attention to the idea of a woman “seeing” what her baby looks like in utero, Birk draws a parallel to Maryam hearing a description of her child, before he is even born (3:45-51). Rather than searching for sources or trying to glean historical information from the Qur’anic text, I approach the Qur’an as a literary, religious and oral text that deliberately affects people, as expressed in art and literature. This paper is informed by the scholarship of Titus Burckhardt, Seyyed Hossein Nasr and Marcus Fraser on Islamic art. Through its analysis of Birk’s "American Qur’an", this paper does four main things: it develops a terminology of Qur’anic art; it argues that we can look at Qur’anic art as interpretation and as reader response; it analyzes how this art reflects back on the Qur’anic text; and it examines how art adds to and takes away from Qur’anic polysemy by cementing its meanings in various ways.